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Arthur Sullivan
Sir Arthur Seymour Sullivan MVO (13 May 1842 – 22 November 1900) was an English composer. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, including H.M.S. Pinafore, The Pirates of Penzance and The Mikado. His works comprise 23 operas, 13 major orchestral works, eight choral works and oratorios, two ballets, incidental music to several plays, and numerous hymns and other church pieces, songs, and piano and chamber pieces. The best known of his hymns and songs include "Onward Christian Soldiers" and "The Lost Chord". The son of a military bandmaster, Sullivan composed his first anthem at age eight. He was selected as soloist in the boys' choir of the Chapel Royal. In 1856, the Royal Academy of Music awarded the first Mendelssohn Scholarship to the 14-year-old Sullivan, allowing him to study first at the Academy and then in Germany, at the Leipzig Conservatoire. His graduation piece was a suite of incidental music to Shakespeare's The Tempest. When it was performed in London in 1862, it was an immediate sensation. Sullivan began his composing career with a series of ambitious works, interspersed with hymns, parlour ballads and other light pieces. Among his best received early pieces were a ballet, L'Île Enchantée (1864), and his Irish Symphony, Cello Concerto and Overture in C (In Memoriam) (all in 1866). From 1861 to 1872, he supplemented his income by working as a church organist and music teacher, and writing hymns and songs. In 1866, Sullivan composed a one-act comic opera, Cox and Box, which is still widely performed. His most successful orchestral work, the Overture di Ballo, premiered in 1870. Sullivan's talent and native charm earned him many friends in musical and social circles, including Queen Victoria's son Alfred, Duke of Edinburgh. In 1871, Sullivan wrote his first opera with W. S. Gilbert, Thespis. Sullivan then produced his Festival Te Deum (1872), an oratorio, The Light of the World (1873), and incidental music for West End productions of several Shakespeare plays. He also had conducting and academic appointments. In 1875, producer Richard D'Oyly Carte reunited Gilbert and Sullivan to create a one-act piece, Trial by Jury, which was a surprise hit. Their 1878 opera H.M.S. Pinafore became an international sensation, as did The Pirates of Penzance (1879) and Patience (1881). Sullivan never married but had a long love affair with an American socialite, Fanny Ronalds. After the death of his brother Fred in 1877, Sullivan supported Fred's large family financially for the rest of his life, effectively adopting his nephew Bertie. Carte used his profits from the Gilbert and Sullivan partnership to build the Savoy Theatre in 1881, and their joint works then became known as the Savoy operas. Later hits in the series were Iolanthe (1882), The Mikado (1885), The Yeomen of the Guard (1888) and The Gondoliers (1889). Sullivan was knighted for his contributions to music in 1883. His infrequent serious pieces during the 1880s included two cantatas, The Martyr of Antioch (1880) and The Golden Legend (1886), his most popular choral work. Sullivan's only serious opera, Ivanhoe, though initially successful in 1891, was little-heard after that. Gilbert broke from Sullivan and Carte in 1890, quarrelling over expenses at the Savoy. They reunited in the 1890s for two more operas, but those did not achieve the popularity of their earlier works. Sullivan continued to compose comic operas with other librettists and wrote a number of other major and minor works throughout the decade. He died at the age of 58, regarded as Britain's foremost composer. His comic opera style served as a model for the generations of musical theatre composers that followed, and his music is still frequently performed, recorded and pastiched. Contents 1 Life and career 1.1 Beginnings 1.2 Mendelssohn scholar 1.3 Rising composer 1.4 1870s; first collaborations with Gilbert 1.5 Early 1880s 1.6 Later 1880s 1.7 1890s 1.8 Death, honours and legacy 2 Personal life 2.1 Romantic life 2.2 Leisure and family life 3 Music 3.1 Method of composition and text setting 3.2 Melody and rhythm 3.3 Harmony and counterpoint 3.4 Orchestration 3.5 Musical quotations and parodies 4 Reputation and criticism 4.1 Early reception 4.2 Knighthood and later years 4.3 Posthumous reputation 5 Recordings 6 See also 7 Notes and references 8 Sources 9 Further reading 10 External links Life and career Beginnings Sullivan as a chorister of the Chapel Royal, circa 1855 Sullivan was born in Lambeth, London.1 His parents were Thomas Sullivan (1805–1866), a military bandmaster, clarinettist and music teacher born in Ireland and raised in Chelsea, London, and Mary Clementina (née Coghlan, 1811–1882), English born, of Irish and Italian descent.2 Thomas Sullivan was based from 1845 to 1857 at the Royal Military College, Sandhurst, where he was the bandmaster and taught music privately to supplement his income.34 Young Sullivan became proficient with many of the instruments in the band and had composed an anthem, "By the waters of Babylon", by the age of eight.5 He later recalled: I was intensely interested in all that the band did, and learned to play every wind instrument, with which I formed not merely a passing acquaintance, but a real, life-long, intimate friendship. I gradually learned the peculiarities of each ... what it could do and what it was unable to do. I learned in the best possible way how to write for an orchestra.6 While recognising the boy's obvious musical talent, his father knew the insecurity of a musical career and discouraged him from pursuing it.7 While studying at a private school in Bayswater, Sullivan, then aged 11, persuaded his parents and the headmaster to allow him to apply for membership in the choir of the Chapel Royal.8 Despite concerns that Sullivan at nearly 12 years of age was too old to give much service as a treble before his voice broke, he was accepted and soon became a soloist and, by 1856, was promoted to "first boy".9 Even at this age, Sullivan's health was delicate, and he was easily fatigued.10 Sullivan flourished under the training of the Reverend Thomas Helmore, master of the choristers, and began to compose anthems and songs.11 Helmore encouraged the young Sullivan's composing talent and arranged for one of his pieces, "O Israel", to be published in 1855, Sullivan's first published work.12 Helmore also enlisted Sullivan's assistance in creating harmonisations for a volume of The Hymnal Noted13 and arranged for Sullivan's compositions to be performed; one of the boy's anthems was given at the Chapel Royal in St James's Palace under the direction of Sir George Smart.11 Mendelssohn scholar Sullivan at age 16, studying at Leipzig In 1856, the Royal Academy of Music awarded the first Mendelssohn Scholarship to the 14-year-old Sullivan, granting him a year's training at the academy.101 His principal teacher there was John Goss, whose own teacher, Thomas Attwood, had been a pupil of Mozart.15 He studied piano with the head of the academy, William Sterndale Bennett, and with Arthur O'Leary.16 During this year at the Royal Academy, Sullivan continued to sing solos with the Chapel Royal, which provided a small amount of spending money.17 Sullivan's scholarship was extended to a second year, and in 1858 in what the biographer Arthur Jacobs calls an "extraordinary gesture of confidence"18 the scholarship committee extended his grant for a third year so that he could study in Germany, at the Leipzig Conservatoire.18 While there, Sullivan studied composition with Julius Rietz and Carl Reinecke, counterpoint with Moritz Hauptmann and Ernst Richter and the piano with Louis Plaidy and Ignaz Moscheles.19 He was trained in Mendelssohn's ideas and techniques but was also exposed to a variety of musical styles, including Schubert, Verdi, Bach, and Wagner.20 Visiting a synagogue,2 he was so struck by some of the cadences and progressions of the music that thirty years later he could recall them for use in his serious opera, Ivanhoe.20 Though the scholarship was extended to permit Sullivan to spend one year in Leipzig, he stayed for three years.23 There, he became friendly with the impresario Carl Rosa and the violinist Joseph Joachim.24 For his last year at Leipzig, his father scraped together the money for living expenses, and the conservatoire assisted by waiving its fees.25 Sullivan credited his Leipzig period with tremendous musical growth. His graduation piece, completed in 1861, was a set of incidental music to Shakespeare's The Tempest.20 Revised and expanded, it was performed at the Crystal Palace in 1862, a year after his return to London, and was an immediate sensation. He began building a reputation as England's most promising young composer.26 Rising composer Colleagues and collaborators: clockwise from top left, George Grove, F. C. Burnand, Richard D'Oyly Carte, W. S. Gilbert Sullivan embarked on his composing career with a series of ambitious works, interspersed with hymns, parlour songs and other light pieces in a more commercial vein. His compositions were not enough to support him financially, and from 1861 to 1872 he supplemented his income by working as a church organist, which he enjoyed, and as a music teacher, sometimes at the Crystal Palace School,27 which he hated and gave up as soon as he could.283 Sullivan had an early chance to compose several pieces for royalty in connection with the wedding of the Prince of Wales in 1863.30 Sullivan's association with works for voice and orchestra began with The Masque at Kenilworth (Birmingham Festival, 1864).31 During a spell as organist at Covent Garden, he composed his first ballet, L'Île Enchantée (1864).32 In 1866, he premiered his Irish Symphony and Cello Concerto, his only works in each such genre.33 In the same year, his Overture in C (In Memoriam), commemorating the recent death of his father, was a commission from the Norwich Festival. During his lifetime, it achieved considerable popularity.34 In 1867, his overture Marmion was premiered by the Philharmonic Society.29 The Times called it "another step in advance on the part of the only composer of any remarkable promise that just at present we can boast."35 In the autumn of 1867, Sullivan travelled with George Grove to Vienna in search of neglected manuscript scores by Schubert.36 They found and copied several and were particularly excited about their final discovery, the score to Rosamunde.4 Sullivan's first attempt at opera, The Sapphire Necklace (1863–64) to a libretto by Henry F. Chorley, was not produced and is now lost, except for the overture and two songs from the work, which were separately published.38 His first surviving opera, Cox and Box (1866), was written for a private performance.39 It then received charity performances in London and Manchester, and was later produced at the Gallery of Illustration, where it ran for an extraordinary 264 performances. W. S. Gilbert, writing in Fun magazine, pronounced the score superior to F. C. Burnand's libretto.40 Sullivan and Burnand were soon commissioned by Thomas German Reed for a two-act opera, The Contrabandista (1867; revised and expanded as The Chieftain in 1894), but it did not do as well.41 Sullivan wrote a group of seven part songs in 1868, the best-known of which is "The Long Day Closes".42 Sullivan's last major work of the 1860s was a short oratorio, The Prodigal Son, premiered in Worcester Cathedral as part of the 1869 Three Choirs Festival to much praise.43 1870s; first collaborations with Gilbert Early poster showing scenes from The Sorcerer, H.M.S. Pinafore and Trial by Jury Sullivan's most enduring orchestral work,44 the Overture di Ballo, was composed for the Birmingham Festival in 1870.5 Also in 1870, Sullivan met Gilbert.46 1871 was a busy year for Sullivan. He published his only song cycle, The Window; or, The Songs of the Wrens, to words by Tennyson,47 and he wrote the first of a series of suites of incidental music for West End productions of Shakespeare plays.6 Still in 1871, Sullivan composed a dramatic cantata, On Shore and Sea, for the opening of the London International Exhibition,50 and the hymn Onward, Christian Soldiers, with words by Sabine Baring-Gould.42 The Salvation Army adopted the latter as its favoured processional,51 and it became Sullivan's most enduring hymn.42 At the end of 1871, the impresario John Hollingshead commissioned Sullivan to work with W. S. Gilbert to create the burlesque-style comic opera Thespis for the Gaiety Theatre.527 Played as a Christmas entertainment, it ran through to Easter 1872, a good run for such a piece.568 After Thespis, Gilbert and Sullivan went their separate ways58 until they collaborated on three parlour ballads in late 1874 and early 1875.59 Sullivan's large-scale works of the early 1870s were the Festival Te Deum (Crystal Palace, 1872);60 and the oratorio, The Light of the World (Birmingham Festival, 1873).60 He provided suites of incidental music for productions of The Merry Wives of Windsor at the Gaiety in 187461 and Henry VIII at the Theatre Royal, Manchester in 1877.62 He continued to compose hymns throughout the decade.9 In 1873, Sullivan contributed songs to Burnand's Christmas "drawing room extravaganza", The Miller and His Man.64 In 1875, the manager of the Royalty Theatre, Richard D'Oyly Carte, needed a short piece to fill out a bill with Offenbach's La Périchole. Carte had conducted Sullivan's Cox and Box.6510 Remembering that Gilbert had suggested a libretto to him, Carte reunited Gilbert and Sullivan, and the result was the one-act comic opera Trial by Jury.6711 Trial, starring Sullivan's brother Fred as the Learned Judge, became a surprise hit, earning glowing praise from the critics and playing for 300 performances over its first few seasons.69 The Daily Telegraph commented that the piece illustrated the composer's "great capacity for dramatic writing of the lighter class",69 and other reviews emphasised the felicitous combination of Gilbert's words and Sullivan's music.70 One wrote, "it seems, as in the great Wagnerian operas, as though poem and music had proceeded simultaneously from one and the same brain."71 Soon after the opening of Trial, Sullivan wrote The Zoo, another one-act comic opera, with a libretto by B. C. Stephenson.72 But the latter work had only a few short runs, and for the next 15 years Sullivan's sole operatic collaborator was Gilbert; the two created an additional 12 operas together.73 The Lost Chord Menu 0:00 1913 recording of "The Lost Chord" (1877) by Arthur Sullivan and Adelaide Anne Procter, sung by Reed Miller. Problems playing this file? See media help. Sullivan also turned out more than 80 popular songs and parlour ballads, most of them written before the end of the 1870s.74 His first popular song was "Orpheus with his Lute" (1866), and a well-received part song was "Oh! hush thee, my babie" (1867).13 The best known of his songs is "The Lost Chord" (1877, lyrics by Adelaide Anne Procter), written in sorrow at the death of his brother Frederic.75 The sheet music for his best received songs sold in large numbers and were an important part of his income; many of them were adapted as dance pieces.7677 In this decade, Sullivan's conducting appointments included the Glasgow Choral Union concerts (1875–77) and the Royal Aquarium, London (1876).78 In addition to his appointment as Professor of Composition at the Royal Academy of Music, of which he was a Fellow, he was appointed as the first Principal of the National Training School for Music in 1876.79 He accepted the latter post reluctantly, fearing that discharging the duties thoroughly would leave too little time for composing. In this he was correct, as his successor Hubert Parry also discovered.80 Sullivan was not effective in the post, and he resigned in 1881.12 Sullivan's next collaboration with Gilbert, The Sorcerer (1877), ran for 178 performances,81 a success by the standards of the day,82 but H.M.S. Pinafore (1878), which followed it, turned Gilbert and Sullivan into an international phenomenon.83 The bright and cheerful music of Pinafore was composed during a time when Sullivan suffered from excruciating pain from a kidney stone.8485 Pinafore ran for 571 performances in London, the then-second-longest theatrical run in history,86 and more than 150 unauthorised productions were quickly mounted in America alone.8713 Among other favourable reviews, The Times noted that the opera was an early attempt at the establishment of a "national musical stage" ... free from risqué French "improprieties" and without the "aid" of Italian and German musical models.89 The Times and several of the other papers agreed, however, that while the piece was entertaining, Sullivan was capable of higher art, and frivolous light opera would hold him back.90 This criticism would follow Sullivan throughout his career.91 In 1879, Sullivan suggested to a reporter from The New York Times the secret of his success with Gilbert: "His ideas are as suggestive for music as they are quaint and laughable. His numbers ... always give me musical ideas."92 Pinafore was followed by The Pirates of Penzance in 1879, another international success, which opened in New York and then ran in London for 363 performances.93 Early 1880s Scenes from the premiere of The Golden Legend at the Leeds Music Festival, 1886 In 1880, Sullivan was appointed director of the triennial Leeds Music Festival.94 For his first festival he was commissioned to write a sacred choral work. He chose Henry Hart Milman's 1822 dramatic poem based on the life and death of Saint Margaret the Virgin for its basis.95 Gilbert adapted the libretto for Sullivan.96 The Martyr of Antioch premiered in October 1880. Sullivan was not a showy conductor, and some thought him dull and old fashioned on the podium,14 but his composition had an enthusiastic reception and was frequently revived.99 A grateful Sullivan presented his collaborator with an engraved silver cup inscribed "W.S. Gilbert from his friend Arthur Sullivan."15 After the run of The Pirates of Penzance, Carte opened the next Gilbert and Sullivan piece, Patience, in April 1881 at London's Opera Comique, where their past three operas had played. In October, Patience transferred to the new, larger, state-of-the-art Savoy Theatre, built with the profits of the previous Gilbert and Sullivan works. The rest of the partnership's collaborations were produced at the Savoy, as a result of which they are widely known as the "Savoy Operas".101 Iolanthe (1882), Gilbert and Sullivan's fourth hit in a row, was the first of the operas to premiere at the new theatre.102 Sullivan, despite the financial security of writing for the Savoy, increasingly viewed his work with Gilbert as unimportant, beneath his skills, and also repetitious. After Iolanthe, Sullivan had not intended to write a new work with Gilbert, but he suffered a serious financial loss when his broker went bankrupt in November 1882. Therefore, he concluded that his financial needs required him to continue writing Savoy operas.103 In February 1883, he and Gilbert signed a five-year agreement with Carte, requiring them to produce a new comic opera on six months' notice.104 On 22 May 1883, Sullivan was knighted by Queen Victoria for his "services ... rendered to the promotion of the art of music" in Britain.105 The musical establishment, and many critics, believed that this should put an end to his career as a composer of comic opera – that a musical knight should not stoop below oratorio or grand opera.91 Having just signed the five-year agreement, Sullivan suddenly felt trapped.106 In mid-December, he bade farewell to his sister-in-law Charlotte, Fred's widow, who emigrated with her young family to America. Sullivan's oldest nephew, Herbert, stayed behind in England as his uncle's ward.107 The next opera, Princess Ida (1884, the duo's only three-act, blank verse work), had a noticeably shorter run than its four predecessors, although Sullivan's score was praised. With box office receipts lagging in March 1884, Carte gave the six months' notice, under the partnership contract, requiring a new opera.108 Sullivan's close friend, the composer Frederic Clay, had suffered a serious stroke in early December 1883 that effectively ended his career at the age of 45. Sullivan, reflecting on this, on his own longstanding kidney problems, and on his desire to devote himself to more serious music, replied to Carte, "It is impossible for me to do another piece of the character of those already written by Gilbert and myself."109 Programme for The Mikado, 1885 Gilbert had already started work on a new opera involving a plot in which people fell in love against their wills after taking a magic lozenge. The composer wrote, on 1 April 1884 that he had "come to the end of my tether" with the operas: "I have been continually keeping down the music in order that not one syllable should be lost. ... I should like to set a story of human interest & probability where the humorous words would come in a humorous (not serious) situation, & where, if the situation were a tender or dramatic one the words would be of similar character."110 In a lengthy exchange of correspondence, Sullivan pronounced Gilbert's plot sketch (particularly the "lozenge" element) unacceptably mechanical, and too similar in both its grotesque "elements of topsyturveydom" and in actual plot to their earlier work, especially The Sorcerer,16 and repeatedly requested that Gilbert find a new subject.111 The impasse was finally resolved on 8 May when Gilbert proposed a plot that did not depend on any supernatural device. The result was Gilbert and Sullivan's most successful work, The Mikado (1885).112 The piece ran for 672 performances, which was the second-longest run for any work of musical theatre, and one of the longest runs of any theatre piece, up to that time.17 Later 1880s Portrait by Millais (1888) in the National Portrait Gallery, London. It hangs next to Frank Holl's 1886 portrait of Gilbert. In 1886, Sullivan composed his second and last large-scale choral work of the decade. It was a cantata for the Leeds Festival, The Golden Legend, based on Longfellow's poem of the same name. Apart from the comic operas, this proved to be Sullivan's best received full-length work.114 It was given hundreds of performances during his lifetime, and at one point he declared a moratorium on its presentation, fearing that it would become over-exposed.115 Only Handel's Messiah was performed more often in Britain in the 1880s and 90s.116 It remained in the repertory until about the 1920s, but since then it has been seldom performed,117 although it received its first professional recording in 2001.116 The musical scholar and conductor David Russell Hulme writes that the work influenced Elgar and Walton.18 Ruddigore followed The Mikado at the Savoy in 1887. It was profitable, but its nine-month run was disappointing compared with most of the earlier Savoy operas.118 For their next piece, Gilbert submitted another version of the magic lozenge plot; Sullivan immediately rejected it. Gilbert finally proposed a comparatively serious opera, to which Sullivan agreed.119 Although it was not a grand opera, The Yeomen of the Guard (1888) provided him with the opportunity to compose his most ambitious stage work to date.120 As early as 1883, Sullivan had been under pressure from the musical establishment to write a grand opera. In 1885, he told an interviewer, ""The opera of the future is a compromise the French, German and Italian schools – a sort of eclectic school, a selection of the merits of each one. I myself will make an attempt to produce a grand opera of this new school. ... Yes, it will be an historical work, and it is the dream of my life."121 After The Yeomen of the Guard opened, Sullivan turned once again to Shakespeare, composing incidental music for Henry Irving's production of Macbeth (1888).122 Sullivan wished to produce further serious works with Gilbert. He had collaborated with no other librettist since 1875. But Gilbert felt that the reaction to The Yeomen of the Guard had "not been so convincing as to warrant us in assuming that the public want something more earnest still."123 He proposed instead that Sullivan should go ahead with his plan to write a grand opera, but should continue also to compose comic works for the Savoy.19 Sullivan was not immediately persuaded. He replied, "I have lost the liking for writing comic opera, and entertain very grave doubts as to my power of doing it."20 Nevertheless, Sullivan soon commissioned a grand opera libretto from Julian Sturgis (who was recommended by Gilbert), while suggesting to Gilbert that he revive an old idea for an opera set in colourful Venice.125 The comic opera was completed first: The Gondoliers (1889) was a piece described by Gervase Hughes as a pinnacle of Sullivan's achievement.126 It was the last great Gilbert and Sullivan success.127 1890s Ivanhoe, 1891 The relationship between Gilbert and Sullivan suffered its most serious breach in April 1890, during the run of The Gondoliers, when Gilbert objected to Carte's financial accounts for the production, including a charge to the partnership for the cost of new carpeting for the Savoy Theatre lobby. Gilbert believed that this was a maintenance expense that should be charged to Carte alone.128 Carte was building a new theatre to present Sullivan's forthcoming grand opera, and Sullivan sided with Carte, going so far as to testify erroneously as to certain old debts.129 Gilbert took legal action against Carte and Sullivan and vowed to write no more for the Savoy, and so the partnership came to an acrimonious end.130 Sullivan wrote to Gilbert in September 1890 that he was "physically and mentally ill over this wretched business. I have not yet got over the shock of seeing our names coupled ... in hostile antagonism over a few miserable pounds".131 Sullivan's only grand opera, Ivanhoe, based on Walter Scott's novel, opened at Carte's new Royal English Opera House on 31 January 1891. Sullivan completed the score too late to meet Carte's planned production date, and costs mounted; Sullivan was required to pay Carte a contractual penalty of £3,000 for his delay.132133 The production lasted for 155 consecutive performances, an unprecedented run for a serious opera, and earned good notices for its music.134 Afterwards, Carte was unable to fill the new opera house with other opera productions, however, and Ivanhoe was blamed for the failure of the opera house. The opera passed into obscurity after a touring revival in 1894–95.134135 The episode was, as the critic Herman Klein observed, "the strangest comingling of success and failure ever chronicled in the history of British lyric enterprise!"136 Sullivan did not seriously consider writing grand opera again. Later in 1891, Sullivan composed music for Tennyson's The Foresters, which ran well at Daly's Theatre in New York in 1892, but failed in London the following year.21 Poster for The Chieftain (1894) Sullivan returned to comic opera, but because of the fracture with Gilbert, he and Carte sought other collaborators. Sullivan's next piece was Haddon Hall (1892), with a libretto by Sydney Grundy based loosely on the historical elopement of Dorothy Vernon with John Manners.141 Although still comic, the tone and style of the work was considerably more serious and romantic than most of the operas with Gilbert. It enjoyed a modest popularity, running for 204 performances, and earned critical praise.142 In 1895, Sullivan once more provided incidental music for the Lyceum, this time for J. Comyns Carr's King Arthur.143 The partnership with Gilbert had been so profitable that Carte and his wife sought to reunite the author and composer, eventually succeeding with the help of Tom Chappell, their music publisher.144 Their next opera, Utopia Limited (1893), ran for 245 performances, barely covering the expenses of the lavish production,145 although it was the longest run at the Savoy in the 1890s.146 Sullivan came to disapprove of the leading lady, Nancy McIntosh, and refused to write another piece featuring her, while Gilbert insisted that she must appear in his next opera.147 Instead, Sullivan teamed up again with his old partner, F. C. Burnand. The Chieftain (1894), a heavily-revised version of their earlier two-act opera, The Contrabandista, flopped.148 Gilbert and Sullivan reunited one more time, after McIntosh announced her retirement from the stage, for The Grand Duke (1896). This also failed, and Sullivan never worked with Gilbert again, although their operas continued to be revived with success at the Savoy.149 In May 1897, Sullivan's full-length ballet, Victoria and Merrie England, opened at the Alhambra Theatre to celebrate the Queen's Diamond Jubilee. The work's seven scenes celebrate English history and culture, with the Victorian period as the grand finale. Its six-month run was considered a great achievement.150 The Beauty Stone (1898), with a libretto by Arthur Wing Pinero and J. Comyns Carr was based on mediaeval morality plays. The collaboration did not go particularly well: Sullivan wrote that Pinero and Comyns Carr were "gifted and brilliant men, with no experience in writing for music",151 and, when he asked for alterations to improve the structure, they refused.152 Sullivan's score, moreover, was too serious for the Savoy audiences' tastes.153 The opera was a critical failure and did not attract a following, running for only seven weeks.154 In 1899, to benefit "the wives and children of soldiers and sailors" on active service in the Boer War, Sullivan composed the music of a jingoistic song, "The Absent-Minded Beggar", to a text by Rudyard Kipling, which became an instant sensation and raised an unprecedented £250,000 from performances and the sale of sheet music and related merchandise.155 In The Rose of Persia (1899), Sullivan returned to his comic roots, writing to a libretto by Basil Hood that combined an exotic Arabian Nights setting with plot elements of The Mikado. Sullivan's tuneful score was well received, and the opera proved to be his most successful full-length collaboration apart from those with Gilbert.156 Another opera with Hood, The Emerald Isle, quickly went into preparation, but Sullivan died before it could be completed.157 Death, honours and legacy Further information: Cultural influence of Gilbert and Sullivan Memorial to Sullivan, Victoria Embankment Gardens, London Having suffered from long-standing recurrent kidney disease that made it necessary, from the 1880s, for him to conduct sitting down, Sullivan died of heart failure, following an attack of bronchitis, at his flat in London on 22 November 1900.158 His unfinished opera, The Emerald Isle, was completed by Edward German and produced in 1901. His Te Deum Laudamus, written to commemorate the end of the Boer War, was performed posthumously.159 A monument in the composer's memory featuring a weeping Muse was erected in the Victoria Embankment Gardens in London and is inscribed with Gilbert's words from The Yeomen of the Guard: "Is life a boon? If so, it must befall that Death, whene'er he call, must call too soon". Sullivan wished to be buried in Brompton Cemetery with his parents and brother, but by order of the Queen he was buried in St. Paul's Cathedral.160 In addition to his knighthood, honours awarded to Sullivan in his lifetime included Doctor in Music, honoris causa, by the universities of Cambridge (1876) and Oxford (1879); Chevalier, Légion d'honneur, France (1878); The Order of the Medjidieh conferred by the Sultan of Turkey (1888); and appointment as a Member of the Fourth Class of the Royal Victorian Order (MVO) in 1897.13161 In all, Sullivan's artistic output included 23 operas, 13 major orchestral works, eight choral works and oratorios, two ballets, one song cycle, incidental music to several plays, numerous hymns and other church pieces, and a large body of songs, parlour ballads, part songs, carols, and piano and chamber pieces.29 Sullivan's operas have often been adapted, first in the 19th century as dance pieces162 and in foreign adaptations of the operas themselves. Since then, his music has been made into ballets (Pineapple Poll (1951) and Pirates of Penzance - The Ballet! (1991)) and musicals (The Swing Mikado (1938), The Hot Mikado (1939) and Hot Mikado (1986), Hollywood Pinafore (1945), The Black Mikado (1975), etc.). His operas are not only frequently performed, but also frequently parodied, pastiched, quoted and imitated in comedy routines, advertising, law, film, television, and other popular media.163164 His legacy, apart from writing the Savoy operas and his other works, is felt perhaps most strongly today through his influence on the American and British musical theatre. The innovations in content and form of the works that he and Gilbert developed directly influenced the development of the modern musical throughout the 20th century.163165 In addition, biographies and scholarly articles and analyses continue to be written about Sullivan's life and work.166 Personal life Romantic life Fanny Ronalds Sullivan never married, but he had serious love affairs with several women.22 The first was with Rachel Scott Russell (1845–1882), the daughter of the engineer John Scott Russell. Sullivan was a frequent visitor at the Scott Russell home in the mid-1860s, and by 1865 the affair was in full bloom. Rachel's parents did not approve of a possible union with a young composer with uncertain financial prospects, but the two continued to see each other covertly. At some point in 1868, Sullivan started a simultaneous (and secret) affair with Rachel's sister Louise (1841–1878). Both relationships had ceased by early 1869.168 Sullivan's longest love affair was with the American socialite, Fanny Ronalds, a woman three years his senior, who had two children.169 He met her in Paris around 1867, and the affair began in earnest soon after she moved to London permanently in 1871.169 A contemporary account described Fanny Ronalds this way: "Her face was perfectly divine in its loveliness, her features small and exquisitely regular. Her hair was a dark shade of brown – châtain foncé chestnut – and very abundant ... a lovely woman, with the most generous smile one could possibly imagine, and the most beautiful teeth."170 Sullivan called her "the best amateur singer in London".171 She often performed Sullivan's songs at her famous Sunday soirees.169 She became particularly associated with "The Lost Chord", singing it both in private and in public, often with Sullivan accompanying her.172 When Sullivan died, he left her the autograph manuscript of that song, along with other bequests.173 Ronalds was separated from her American husband, but they never divorced. Social conventions of the time compelled Sullivan and Ronalds to keep their relationship private. In his diary, he would refer to her as "Mrs. Ronalds" when he saw her in a public setting, but "L. W." (for "Little Woman") or "D. H." (possibly "Dear Heart") when they were alone together, often with a number in parentheses indicating the number of sexual acts completed.174175 Ronalds was apparently pregnant on at least two occasions and procured abortions in 1882 and 1884.176 Sullivan had a roving eye, and his diary records the occasional quarrel when Ronalds discovered his other liaisons, but he always returned to her.23 She was a constant companion up to the time of Sullivan's death, but around 1889 or 1890, the sexual relationship seems to have ended.178 He started to refer to her in the diary as "Auntie",179 and the tick marks indicating sexual activity were no longer there, although similar notation continued to be used for his relationships with other women who have not been identified, and who were always referred to by their initials. In 1896, the 54-year-old Sullivan proposed marriage to the 22-year-old Violet Beddington (1874–1962), but she refused him.180181 Leisure and family life Sullivan and his nephew Herbert ("Bertie") Sullivan loved to spend time in France (both in Paris and the south of France), where his friends ranged from European royalty to the composer Claude Debussy,182 and where the casinos enabled him to indulge his passion for gambling.183 He enjoyed hosting private dinners and entertainments at his home, often featuring famous singers and well-known actors.184 In 1865 he was initiated into Freemasonry and was Grand Organist of the United Grand Lodge of England in 1887 during Queen Victoria's Golden Jubilee.185 Sullivan's talent and native charm gained him the friendship of many not only in the musical establishment, such as Grove, Chorley, and Herman Klein, but also in society circles, such as Alfred, Duke of Edinburgh.186 Sullivan enjoyed playing tennis although, according to George Grossmith, "I have seen some bad lawn-tennis players in my time, but I never saw anyone so bad as Arthur Sullivan".184 Sullivan was devoted to his parents, particularly his mother, with whom he corresponded regularly, when away from London, until her death in 1882. Henry Lytton wrote, "I believe there was never a more affectionate tie than that which existed between Sullivan and his mother, a very witty old lady, and one who took an exceptional pride in her son's accomplishments.187 Sullivan was also very fond of his brother Fred, whose acting career he assisted whenever possible,24 and of Fred's children.192 When Fred died at the age of 39, he left his pregnant wife, Charlotte, with seven children under the age of 14. After Fred's death, Arthur visited the family often and became guardian to all of the children.193 In late 1883, Charlotte and six of her children emigrated to Los Angeles, California, leaving the oldest boy, "Bertie", in Sullivan's sole care. Despite his reservations about the move to America, Sullivan paid all the costs and gave substantial financial support to the family.194 Only a year later, in January 1885, Charlotte died, leaving the six children to be raised mostly by her brother and the older girls.195 From June to August 1885, after The Mikado premiered, Sullivan visited the family in Los Angeles and took them on a sightseeing trip of the American west.196 Throughout the rest of his life, and in his will, he contributed financially to Fred's children, continuing to correspond with them and to be concerned with their education, marriages and financial affairs. Bertie stayed with his uncle Arthur for the rest of the composer's life.197 Three of Sullivan's cousins, the daughters of his uncle John Thomas Sullivan, performed with D'Oyly Carte: Rose, Jane ("Jennie") and Kate Sullivan, the first two of whom used the stage surname Hervey. Kate was a chorister who defected to the Comedy Opera Company's rival production of H.M.S. Pinafore, where she had the opportunity to play Josephine in 1879.198 Jennie was a D'Oyly Carte chorister for fourteen years.199 Rose took principal roles in many of the companion pieces that played with the Savoy operas.200201 Music Main article: List of musical compositions by Arthur Sullivan Method of composition and text setting Sullivan by the cartoonist "Ape" Sullivan told an interviewer, Arthur Lawrence, "I don't use the piano in composition – that would limit me terribly". Sullivan explained that his process was not to wait for inspiration, but "to dig for it. ... I decide on rhythm before I come to the question of melody. ... I mark out the metre in dots and dashes, and not until I have quite settled on the rhythm do I proceed to actual notation."202 Sullivan's text setting, compared with that of his 19th century English predecessors or his European contemporaries, was "vastly more sensitive. ... Sullivan's operatic style attempts to create for itself a uniquely English text-music synthesis", and, in addition, by adopting a conservative musical style, he was able to achieve "the clarity to match Gilbert's finely honed wit with musical wit of his own."203 In composing the Savoy operas, Sullivan wrote the vocal lines of the musical numbers first, and these were given to the actors. He, or an assistant, improvised a piano accompaniment at the early rehearsals; he wrote the orchestrations later, after he had seen what Gilbert's stage business would be.202204 He left the overtures until last and often delegated their composition, based on his outlines, to his assistants,205 often adding his suggestions or corrections.206 Those Sullivan wrote himself include Thespis,207 Iolanthe, Princess Ida, The Yeomen of the Guard, The Gondoliers, The Grand Duke and probably Utopia Limited.208 Most of the overtures are structured as a potpourri of tunes from the operas in three sections: fast, slow and fast.206 Those for Iolanthe and The Yeomen of the Guard are written in a modified sonata form. The overtures from the Gilbert and Sullivan operas remain popular, and there are many recordings of them.209 Sullivan invariably conducted the operas on their opening nights.210 In 1957, a review in The Times gave this rationale for "the continued vitality of the Savoy operas": "They were never really contemporary in their idiom. ... Gilbert and Sullivan's was an artificial world, with a neatly controlled and shapely precision. ... For this, each partner has his share of credit. The neat articulation of incredibilities in Gilbert's plots is perfectly matched by his language. ... Of equal importance ... Gilbert's lyrics almost invariably take on extra point and sparkle when set to Sullivan's music. ... Sullivan's tunes, in these operas, also exist in a make-believe world of their own. ... is a delicate wit, whose airs have a precision, a neatness, a grace, and a flowing melody".211 Melody and rhythm The Musical Times noted that Sullivan's tunes, at least in the comic operas, appeal to the professional as much as to the layman: his continental contemporaries such as Debussy, Leoncavallo and Saint-Saëns held the Savoy operas in high regard.182 Hughes writes, "When Sullivan wrote what we call 'a good tune' it was nearly always 'good music' as well. Outside the ranks of the giants there are few other composers of whom the same could be said."212 Although his melodies sprang from rhythm,202 some of his themes may have been prompted by his chosen instrumentation or his harmonic techniques.212 "Favorite airs from The Mikado" Menu 0:00 A 1914 Edison Records recording of selections from The Mikado. Includes parts of the overture, "A wand'ring minstrel", "Three little maids", "Tit-willow", and the Act II finale. Problems playing this file? See media help. In the comic operas, where many numbers were in verse-plus-refrain form, Sullivan frequently produced two climaxes in the melodic line. Hughes instances "If you go in" (Iolanthe) as a good example. In Hughes's view, though most of the tunes in the Savoy operas are good ones, Sullivan rarely reached the same class of excellence elsewhere when he had no librettist to feed his imagination.213 Even so, on those occasions when Gilbert wrote in unvaried metre, Sullivan often followed suit and produced phrases of simple repetition, such as "Love is a plaintive song" (Patience) and "A man who would woo a fair maid" (The Yeomen of the Guard).214 Sullivan's deliberate echoes of other composers are covered below under "Musical Quotations", but other echoes may not have been conscious: Hughes cites the concluding bars of "Tell a tale of cock and bull" from The Yeomen of the Guard as an example of Handel's influence, and another critic, Edward Greenfield, found a theme in the slow movement of the Irish Symphony "an outrageous crib" from Schubert's Unfinished Symphony.215216 Harmony and counterpoint Sullivan's manuscript for Act 1 finale, The Yeomen of the Guard Harmony Sullivan was trained in the classical style, and contemporary music did not greatly attract him.217 Harmonically his early works used the conventional formulae of Auber, Donizetti, Balfe and Schubert.217 Later he drew on Gounod and Bizet. Mendelssohn's influence, conspicuous in early works, appears intermittently in later ones. As a contemporary writer observed, Sullivan draws on these various influences while remaining recognisably himself.218 Yet, in the field of harmony, Hughes writes, Sullivan remained an eclectic: "He had easily recognisable habits but his style never achieved individuality".217 In general, Sullivan preferred to write in major keys. In the Savoy operas, there are only eleven substantial numbers wholly in a minor key (less than 5% of the musical numbers), and even in his serious works the major prevails.219 Examples of Sullivan's rare excursions into minor keys include the long E minor melody in the first movement of the Irish Symphony, "Go away, madam" in the Act I finale of Iolanthe (echoing Verdi and Beethoven) and the funeral march in the Act I finale of The Yeomen of the Guard.219 Sullivan was happy on occasion to use chords traditionally considered technically incorrect. When reproached for using consecutive fifths in Cox and Box, he replied "if 5ths turn up it doesn't matter, so long as there is no offence to the ear."13 Hughes comments that harmonic contrast in the Savoy works is enhanced by Sullivan's characteristic modulation between keys, as in "Expressive glances" (Princess Ida), where he smoothly negotiates E major, C sharp minor and C major, or "Then one of us will be a queen" (The Gondoliers), where he writes in F major, D flat major and D minor.220 Both Hughes221 and Jacobs in Grove's Dictionary of Music and Musicians29 comment adversely on Sullivan's over-use of tonic pedals, usually in the bass, which Hughes attributes to "lack of enterprise or even downright laziness". Another Sullivan trademark criticised by Hughes is the repeated use of the chord of the augmented fourth at moments of pathos.222 In his serious works, Sullivan attempted to avoid harmonic devices associated with the Savoy operas, with the result, according to Hughes, that The Golden Legend is a "hotch-potch of harmonic styles".223 Counterpoint Sullivan as a conductor, c. 1879 Despite his thorough contrapuntal training in London and Leipzig, as well as his experience as a church organist, Sullivan rarely composed fugues. Hughes cites examples from the Epilogue to The Golden Legend and Victoria and Merrie England.224 In the Savoy operas, fugal style is reserved for making fun of legal solemnity in Trial by Jury and Iolanthe (e.g., the Lord Chancellor's leitmotif in the latter).225 Less formal counterpoint is employed in numbers such as "Brightly Dawns our Wedding Day" (The Mikado) and "When the Buds are Blossoming" (Ruddigore).225 Sullivan's best known contrapuntal device was "the simultaneous presentation of two or more distinct melodies previously heard independently".226 He was not the first composer to combine themes in this way, but it became a characteristic feature of the Gilbert and Sullivan operas.226 Sometimes the melodies were for solo voices, as in "Once more the face I loved so well" (The Zoo), and "I am so proud" (The Mikado), which combines three melodic lines;227 other examples are in choruses, where typically a graceful tune for the ladies is combined with a robust one for the men. Examples include "When the Foeman bares his steel" (The Pirates of Penzance), "In a doleful train" (Patience) and "Welcome, gentry" (Ruddigore).228 At other times, notably in "How beautifully blue the sky" (The Pirates of Penzance), one theme is given to the chorus and the other to solo voices.229 Orchestration Gervase Hughes concludes his chapter on Sullivan's orchestration: "In this vitally important sector of the composer's art he deserves to rank as a master."230 Sullivan was a competent player of at least four orchestral instruments (flute, clarinet, trumpet and trombone) and a technically highly skilled orchestrator.25 Though sometimes inclined to indulge in grandiosity when writing for a full symphony orchestra, he was adept in using smaller forces to the maximum effect.231 Percy Young writes that orchestral players generally like playing Sullivan's music: "Sullivan never asked his players to do what was either uncongenial or impracticable."232233 Overture di Ballo Menu 0:00 The Overture di Ballo (1870) is regarded as Sullivan's most successful orchestral work.44 This military band arrangement is performed by the U.S. Marine Band. Problems playing this file? See media help. Sullivan's orchestra for the Savoy Operas was typical of any other pit orchestra of his era: 2 flutes (+ piccolo), oboe, 2 clarinets, bassoon, 2 horns, 2 cornets, 2 trombones, timpani, percussion and strings. According to Geoffrey Toye, the number of players in the Savoy orchestra was originally 31.234 Sullivan argued hard for an increase in the pit orchestra's size, and starting with The Yeomen of the Guard, the orchestra was augmented with a second bassoon and a bass trombone.235 Sullivan generally orchestrated each score at almost the last moment, noting that the accompaniment for an opera had to wait until he saw the staging, so that he could judge how heavily or lightly to orchestrate each part of the music.236 For his large-scale orchestral pieces, Sullivan added a second oboe part, sometimes double bassoon and bass clarinet, more horns, trumpets, tuba, and sometimes an organ and/or a harp. Many of these pieces used very large orchestras.237 One of the most recognisable features in Sullivan's orchestration is his woodwind scoring. Hughes especially notes Sullivan's clarinet writing, exploiting all registers and colours of the instrument, and his particular fondness for oboe solos. For instance, the Irish Symphony contains two long solo oboe passages in succession, and in the Savoy operas there are many shorter examples.238 In the operas, and also in concert works, another characteristic Sullivan touch is his fondness for pizzicato passages for all the string sections. Most of the operas have at least one number that Hughes calls "virtually a pizzicato ostinato"; he instances "Kind sir, you cannot have the heart" (The Gondoliers), "Free from his fetters grim" (The Yeomen of the Guard) and "In vain to us you plead" (Iolanthe).239 Musical quotations and parodies Sullivan in about 1870 Sullivan often quoted or imitated famous themes and passages from well-known tunes or parodied the styles of famous composers.240 He also liked to evoke familiar musical styles, such as his madrigals in The Mikado, Ruddigore and The Yeomen of the Guard, glees in H.M.S. Pinafore and The Mikado and gavottes in Ruddigore and The Gondoliers.241 In The Sorcerer, there is a country dance in "If you'll marry me".241 In Ruddigore, the sailor character dances a hornpipe, while in The Mikado, Sullivan quotes a Japanese war song in "Miya Sama". Sullivan's 1882 trip to Egypt inspired musical styles in his later opera, The Rose of Persia.242 Of the sextette "I hear the soft note" in Patience, Sullivan said to the singers, "I think you will like this. It is Dr. Arne and Purcell at their best."243 In early pieces, he imitated Mendelssohn (for example in his incidental music for The Tempest), Auber in his Henry VIII music and Gounod in The Light of the World.182 In his comic operas, Sullivan followed Offenbach's lead in parodying the idioms of French and Italian opera, such as those of Donizetti, Bellini and Verdi.244 His music also shows the influence of Handel, Schubert and, conspicuously in the fairy music in Iolanthe, Mendelssohn.245 The then-popular composer Michael Balfe is parodied in The Sorcerer and The Pirates of Penzance, and "Twenty Love Sick Maidens" imitates William Vincent Wallace's "Alas Those Chimes" from Maritana.246 The sextet "A Nice Dilemma" in Trial by Jury parodies "D'un pensiero" in Bellini's La sonnambula.247 Sullivan depicted in 1897 teasing the leading academic Alexander MacKenzie, whose operetta, His Majesty, failed at the Savoy Other examples of opera parody include Mabel's aria "Poor Wand'ring One" in The Pirates of Penzance and the duet "Who are you, sir?" from Cox and Box.248 In H.M.S. Pinafore, the whispered plans for elopement in "This very night" parody the conspirators' choruses in Verdi's Il trovatore and Rigoletto,247 and the octet, "Farewell, my own," evokes the ensemble "Mag der Himmel euch vergeben" in Flotow's Martha and such concerted numbers as the sextet in Donizetti's Lucia di Lammermoor.247 The mock-jingoistic "He is an Englishman" in H.M.S. Pinafore and choral passages in The Zoo satirise patriotic British tunes such as Arne's "Rule, Britannia!".247 The chorus "With catlike tread" from Pirates is an imitation of Verdi's "Anvil Chorus" from Il trovatore.249 In Princess Ida, there is a strong Handelian flavour to Arac's song in Act III ("This helmet, I suppose"),215 and the Act II quartet "The world is but a broken toy" has been called "Gounodesque".250 Florian's statement in "Gently, Gently": "In this college, useful knowledge/Everywhere one finds" is a quotation from Chopin's Waltz No. 5 in A-flat Major (Op. 42).251 In The Gondoliers, there are the Spanish cachucha, the Italian saltarello and tarantella, and the Venetian barcarolle. Hughes compares "Here is a case unprecedented" from The Gondoliers to the Act II quintet from Bizet's Carmen.252 In "A more humane Mikado", when the Mikado mentions "Bach interwoven with Spohr and Beethoven", the clarinet and bassoon quote the fugue subject of Bach's Fantasia and Fugue in G minor.253 The Golden Legend shows the influence of Liszt and Wagner.254 Sullivan frequently gives groups or locations their own characters and motifs. Hughes points to the striking difference between the male chorus of rustics in The Sorcerer and the eponymous gondoliers, and between the fairies in Iolanthe and the undergraduates in Princess Ida.255 H.M.S Pinafore retains "a nautical tang throughout",255 and in The Yeomen of the Guard the Tower of London is evoked continually by its own motif.255 A distinctive four-note theme is associated with the character Iolanthe, and the Fairy Queen's music parodies that of Wagnerian heroines such as Brünnhilde.256 This use of Wagnerian leitmotif technique is repeated and developed further in Ivanhoe.257 Reputation and criticism Main article: Critical reputation of Arthur Sullivan Punch - Sullivan's knighthood.png Cartoon from Punch in 1880. It was premature in declaring Sullivan's knighthood, but was accompanied by a parody version of "When I, good friends" from Trial by Jury that summarised Sullivan's career to that date: "A HUMOROUS KNIGHT." is reported that after the Leeds Festival Dr. Sullivan will be knighted." Having read this in a column of gossip, a be-nighted Contributor, who has "the Judge's Song" on the brain, suggests the following verse, adapted to probabilities. As a boy I had such a musical bump, And its size so struck Mr. HELMORE,That he said, "Though you sing those songs like a trump, You shall write some yourself that will sell more."So I packed off to Leipsic, without looking back, And returned in such classical fury,That I sat down with HANDEL and HAYDN and BACH,— And turned out "Trial by Jury." But W.S.G. he jumped for joy As he said, "Though the job dismay you,Send Exeter Hall to the deuce, my boy; It's the haul with me that'll pay you."And we hauled so well, mid jeers and taunts, That we've settled, spite all temptations,To stick to our Sisters and our Cousins and our Aunts,— And continue our pleasant relations. Yet I know a big Duke, and I've written for Leeds, And I think (I don't wish to be snarly),If honour's poured out on a chap for his deeds, I'm as good-—come, as MONCKTON or CHARLEY!So the next "first night" and the Opéra C., Let's hope, if you're able to find him,You'll cry from the pit, "There's W. S. G. In the stalls,—with a KNIGHT behind him!'" Early reception Sullivan's critical reputation has undergone extreme changes since he first came to prominence in the 1860s. At first, critics were struck by his potential, and he was hailed as the long-awaited great English composer.258 His incidental music to The Tempest received an acclaimed premiere at the Crystal Palace just before Sullivan's 20th birthday in April 1862. The Athenaeum wrote: It ... may mark an epoch in English music, or we shall be greatly disappointed. Years on years have elapsed since we have heard a work by so young an artist so full of promise, so full of fancy, showing so much conscientiousness, so much skill, and so few references to any model elect.259 His Irish Symphony of 1866 won similarly enthusiastic praise, but as Arthur Jacobs notes, "The first rapturous outburst of enthusiasm for Sullivan as an orchestral composer did not last."260 A comment typical of those that followed him throughout his career was that "Sullivan's unquestionable talent should make him doubly careful not to mistake popular applause for artistic appreciation."261 When Sullivan turned to comic opera with Gilbert, the serious critics began to express disapproval. Peter Gammond writes of "misapprehensions and prejudices, delivered to our door by the Victorian firm Musical Snobs Ltd. ... frivolity and high spirits were sincerely seen as elements that could not be exhibited by anyone who was to be admitted to the sanctified society of Art."262 As early as 1877 The Figaro wrote that Sullivan "has all the ability to make him a great composer, but he wilfully throws his opportunity away. ... He possesses all the natural ability to have given us an English opera, and, instead, he affords us a little more-or-less excellent fooling."263 Few critics denied the excellence of Sullivan's theatre scores. The Theatre wrote that "Iolanthe sustains Dr Sullivan's reputation as the most spontaneous, fertile, and scholarly composer of comic opera this country has ever produced."264 However, comic opera, no matter how skilfully crafted, was viewed as an intrinsically lower form of art than oratorio. The Athenaeum's review of The Martyr of Antioch declared: "It is an advantage to have the composer of H.M.S. Pinafore occupying himself with a worthier form of art."265 Knighthood and later years Sullivan's knighthood in 1883 gave the serious music critics further ammunition. The Musical Review of that year wrote: Some things that Mr. Arthur Sullivan may do, Sir Arthur ought not to do. In other words, it will look rather more than odd to see announced in the papers that a new comic opera is in preparation, the book by Mr. W. S. Gilbert and the music by Sir Arthur Sullivan. A musical knight can hardly write shop ballads either; he must not dare to soil his hands with anything less than an anthem or a madrigal; oratorio, in which he has so conspicuously shone, and symphony, must now be his line. Here is not only an opportunity, but a positive obligation for him to return to the sphere from which he has too long descended and do battle for the honour of English art ... against all foreign rivals, and arouse us thoroughly from our present half-torpid condition.91 Even Sullivan's friend George Grove wrote: "Surely the time has come when so able and experienced a master of voice, orchestra, and stage effect – master, too, of so much genuine sentiment – may apply his gifts to a serious opera on some subject of abiding human or natural interest."91 Sullivan finally redeemed himself in critical eyes with The Golden Legend in 1886. The Observer hailed it as a "triumph of English art".266 The World called it "one of the greatest creations we have had for many years. Original, bold, inspired, grand in conception, in execution, in treatment, it is a composition which will make an "epoch" and which will carry the name of its composer higher on the wings of fame and glory. ... The effect of the public performance was unprecedented."267 Hopes for a new departure were evident in the Daily Telegraph's review of The Yeomen of the Guard (1888), Sullivan's most serious opera to that point: "The music follows the book to a higher plane, and we have a genuine English opera, forerunner of many others, let us hope, and possibly significant of an advance towards a national lyric stage."268 Sullivan's only wholly serious opera, Ivanhoe (1891), received generally favourable reviews, although J. A. Fuller Maitland, in The Times, expressed reservations, writing that the opera's "best portions rise so far above anything else that Sir Arthur Sullivan has given to the world, and have such force and dignity, that it is not difficult to forget the drawbacks which may be found in the want of interest in much of the choral writing, and the brevity of the concerted solo parts."269 Sullivan's 1898 ballet Victoria and Merrie England was one of several late pieces that won praise from most critics: Sir Arthur Sullivan's music is music for the people. There is no attempt made to force on the public the dullness of academic experience. The melodies are all as fresh as last year's wine, and as exhilarating as sparkling champagne. There is not one tune which tires the hearing, and in the matter of orchestration our only humorist has let himself run riot, not being handicapped with libretto, and the gain is enormous. ... All through we have orchestration of infinite delicacy, tunes of alarming simplicity, but never a tinge of vulgarity.270 Although the more solemn members of the musical establishment could not forgive Sullivan for writing music that was both comic and accessible, he was, nevertheless, "the nation's de facto composer laureate".27126 Posthumous reputation In the decade after his death, Sullivan's reputation sank considerably. In 1901, Fuller Maitland took issue with the generally laudatory tone of most of the obituaries: "Is there anywhere a case quite parallel to that of Sir Arthur Sullivan, who began his career with a work which at once stamped him as a genius, and to the height of which he only rarely attained throughout life? ... It is because such great natural gifts – gifts greater, perhaps, than fell to any English musician since ... Purcell – were so very seldom employed in work worthy of them."273 Edward Elgar, to whom Sullivan had been particularly kind,274 rose to Sullivan's defence, branding Fuller Maitland's obituary "the shady side of musical criticism ... that foul unforgettable episode."27527 Fuller Maitland's followers, including Ernest Walker, also dismissed Sullivan as "merely the idle singer of an empty evening".278 As late as 1966, Frank Howes, music critic of The Times condemned Sullivan for a "lack of sustained effort ... a fundamental lack of seriousness towards his art and inability to perceive the smugness, the sentimentality and banality of the Mendelssohnian detritus ... to remain content with the flattest and most obvious rhythms, this yielding to a fatal facility, that excludes Sullivan from the ranks of the good composers."279 20th century audiences Thomas F. Dunhill wrote a in 1928 that Sullivan's "music has suffered in an extraordinary degree from the vigorous attacks which have been made upon it in professional circles. These attacks have succeeded in surrounding the composer with a kind of barricade of prejudice which must be swept away before justice can be done to his genius."280 Sir Henry Wood continued to perform Sullivan's serious music.281 In 1942, Wood presented a Sullivan centenary concert at the Royal Albert Hall,29 but it was not until the 1960s that Sullivan's music other than the Savoy operas began to be widely revived and reassessed. In 1960 Hughes published the first full-length book about Sullivan's music "which, while taking note of his weaknesses (which are many) and not hesitating to castigate his lapses from good taste (which were comparatively rare) attempted to view them in perspective against the wider background of his sound musicianship."278 The work of the Sir Arthur Sullivan Society, founded in 1977, books about Sullivan by musicians such as Young (1971) and Jacobs (1986), and a growing number of recordings have contributed to the re-evaluation of Sullivan's serious music.276 The Symphony in E had its first professional recording in 1968, and a considerable number of Sullivan's non-Gilbert works have since been recorded.282 Scholarly critical editions of a growing number of Sullivan's works have been published.29 In a 2000 article in The Musical Times, Nigel Burton wrote: Sullivan spoke naturally to all people, for all time, of the passions, sorrows and joys which are forever rooted in the human consciousness. He believed ... that the human being's prime duty in life is to serve humanity. It is his artistic consistency in this respect which obliges us to pronounce him our greatest Victorian composer. Time has now sufficiently dispersed the mists of criticism for us to be able to see the truth, to enjoy all his music, and to rejoice in the rich diversity of its panoply. ... Let us resolve to set aside the "One-and-a-half-hurrahs" syndrome once and for all, and, in its place, raise THREE LOUD CHEERS.276 Recordings On 14 August 1888, George Gouraud introduced Thomas Edison's phonograph to London in a press conference, including the playing of a piano and cornet recording of Sullivan's "The Lost Chord", one of the first recordings of music ever made.283 Sullivan was invited to a party on 5 October 1888 given to demonstrate the technology. After dinner, he recorded a speech to be sent to Edison, saying, in part: I can only say that I am astonished and somewhat terrified at the result of this evening's experiments: astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever. But all the same I think it is the most wonderful thing that I have ever experienced, and I congratulate you with all my heart on this wonderful discovery.283 These recordings were discovered in the Edison Library in New Jersey in the 1950s:283 The Lost Chord Menu 0:00 One of the recordings played at the 14 August 1888 press conference After-dinner speech at the Little Menlo Menu 0:00 Sullivan's phonographic letter to Thomas Edison, 5 October 1888 Problems listening to the files? See media help. Advertisement for the first recording of The Mikado, 1917 The first commercial recordings of Sullivan's music, beginning in 1898, were of individual numbers from the Savoy operas.28 In 1917, the Gramophone Company (also known as HMV) produced the first album of a complete musical score of a Gilbert and Sullivan opera, The Mikado, followed by recordings of eight more of the operas.285 Electrical recordings of the complete musical scores of most of the operas were then issued by the Gramophone Company and Victor Talking Machine Company beginning in the late 1920s. These recordings were supervised by Rupert D'Oyly Carte.286 The D'Oyly Carte Opera Company continued to produce recordings until 1979.287 Between 1988 and 2003, after the company was revived, it recorded seven of the operas.288 Other recordings have been made by opera companies such as Gilbert and Sullivan for All,289 and Australian Opera, among many others.288290 Ad hoc companies of operatic singers conducted by Sir Malcolm Sargent in the 1950s and 60s291 and Sir Charles Mackerras in the 1990s288 have made audio sets of several Savoy operas, and in the 1980s Alexander Faris conducted video recordings of most of the operas with casts including show-business stars as well as professional singers.292 The long-running Broadway production of The Pirates of Penzance presented by Joseph Papp, re-orchestrated with synthesisers replacing the strings, was put on record in 1981.293 Since 1994, the International Gilbert and Sullivan Festival has released numerous professional and amateur CDs and videos of its productions and other Sullivan recordings.294 Sullivan's non-Savoy works were infrequently recorded until the 1960s. A few of his songs were put on disc in the early years of the 20th century, including versions of "The Lost Chord" by Enrico Caruso and Clara Butt.295 The first of many recordings of the Overture di Ballo was made in the 1940s.296 Sullivan's Irish Symphony was first recorded in 1968 under Sir Charles Groves.297 Since then, much of Sullivan's serious music and his operas without Gilbert have been recorded. Some highlights include282298 the cello concerto by Julian Lloyd Webber (1986),299 The Golden Legend under Ronald Corp (2001)300 and Ivanhoe, under the conductor David Lloyd-Jones (2009).301 Mackerras's Sullivan ballet score, Pineapple Poll, has received many recordings since its premiere in 1951, four of them conducted by Mackerras.302 See also Portal icon Gilbert and Sullivan portal Portal icon Biography portal List of musical compositions by Arthur Sullivan People associated with Gilbert and Sullivan Notes and references Notes 1.Jump up ^ Jenny Lind, devastated by the premature death of Felix Mendelssohn in 1847, waited a year to sing the soprano part in his oratorio Elijah, which he had written for her. She finally did so at a concert in 1848, raising £1,000 to fund a scholarship in his name. After Sullivan became the first recipient of the scholarship, Lind encouraged him in his career.14 2.Jump up ^ A few sources stated that Sullivan had some Jewish ancestry,21 but Jacobs concludes that there is no evidence of any Jewish antecedents.22 3.Jump up ^ Between 1861 and 1872 Sullivan worked as an organist at two fashionable London churches: St. Michael's, Chester Square, Pimlico and St. Peter's, Cranley Gardens, Kensington.29 4.Jump up ^ Grove described the discovery thus: "I found, at the bottom of the cupboard and in its farthest corner, a bundle of music books two feet high, carefully tied round, and black with the undisturbed dust of nearly half-a-century. ... There were the part books of the whole of the music in Rosamunde, tied up after the second performance, in December 1823, and probably never disturbed since. Dr. Schneider curator must have been amused at our excitement ... at any rate, he kindly overlooked it, and gave us permission to ... copy what we wanted."37 5.Jump up ^ The work received an enthusiastic public reception, but The Musical Times printed an early example of critical censure of Sullivan for his accessibility: "The applause which it received was general and spontaneous but it may be a question whether, if Mr. Sullivan could not be requested to furnish a higher class of work, he should not have been passed over altogether until a more fitting opportunity presented itself."45 6.Jump up ^ This was for The Merchant of Venice at the Prince's Theatre, Manchester.48 Sullivan's earlier Tempest music had been composed for the concert hall, rather than theatrical performance, although it was later used for at least one stage production.49 7.Jump up ^ With a classical story and a mixture of political satire and grand opera parody, Thespis was reminiscent of Orpheus in the Underworld and La belle Hélène by Offenbach, whose operettas were extremely popular on the English stage in both French and English.53 La belle Hélène entered the Gaiety's repertory eight weeks before the premiere of Thespis.54 Sullivan may have been encouraged to write the music for Thespis by Hollingshead's offer of the role of Apollo to the composer's elder brother, the comic actor and singer Fred Sullivan.55 8.Jump up ^ The musical score of Thespis was never published and is now lost, except for one song that was published separately, a chorus that was re-used in The Pirates of Penzance, and the Act II ballet.57 9.Jump up ^ Sullivan composed 72 hymns, including two settings of "Nearer, My God, to Thee", of which the "Propior Deo" is the better known. Young gives a complete list of Sullivan's hymns.63 10.Jump up ^ Carte conducted Cox and Box and some operettas on a tour, in 1871, managed by the composer's brother, Fred, who played Cox. Cox and Box, again with Fred as Cox, had been revived in 1874, and Arthur Sullivan may have been considering a return to comic opera.66 11.Jump up ^ The title page of the libretto describes Trial as "A Dramatic Cantata";68 Gilbert and Sullivan insisted on calling the rest of their joint works "operas", often with a descriptive adjective, such as a "nautical comic opera" (Jacobs, p. 118), an "aesthetic opera" or a "Japanese opera" (Jacobs, Preface). 12.Jump up ^ In a study of the School and its successor, the Royal College of Music, David Wright comments on Sullivan: "He lacked any fresh perspective on musical training and any vision of what the NTSM needed to achieve if it was to make a mark. ... Neither did Sullivan have real sympathy with the Society of Arts' progressive social ideals of scholarship education regardless of social origin, despite having himself gained his education through scholarship support."79 13.Jump up ^ Gilbert, Sullivan and Carte tried for many years to control the American performance copyrights over their operas, but they were unable to do so.88 14.Jump up ^ The Viennese music critic Eduard Hanslick wrote of Sullivan's conducting of a Mozart symphony: "Sullivan presides on the podium from the comfortable recesses of a commodious armchair, his left arm lazily extended on the arm-rest, his right giving the beat in a mechanical way, his eyes fastened on the score. ... Sullivan never looked up from the notes; it was as though he was reading at sight. The heavenly piece plodded along for better or for worse, listlessly, insensibly."97 Bernard Shaw, who praised Sullivan as a composer ("They trained him to make Europe yawn, and he took advantage of their teaching to make London and New York laugh and whistle.") commented: "Under his bâton orchestras are never deficient in refinement. Coarseness, exaggeration, and carelessness are unacquainted with him. So, unfortunately, are vigor and earnestness."98 15.Jump up ^ Gilbert replied, "it most certainly never occurred to me to look for any other reward than the honour of being associated, however remotely and unworthily, in a success which, I suppose, will endure until music itself shall die. Pray believe that of the many substantial advantages that have resulted to me from our association, this last is, and always will be, the most highly prized."100 16.Jump up ^ Even after Gilbert made changes (but retained a magic lozenge that changed people into what they pretended to be), Sullivan could not accept it. 17.Jump up ^ The longest-running piece of musical theatre was Robert Planquette's 1877 opéra-comique Les Cloches de Corneville, which held the record until Alfred Cellier's operetta Dorothy ran for 931 performances beginning in 1886.113 18.Jump up ^ "King Olaf, Caractacus and Gerontius owe much to The Golden Legend – as, via them, does Walton's Belshazzar's Feast."116 19.Jump up ^ Gilbert wrote, "We have a name, jointly, for humorous work, tempered with occasional glimpses of earnest drama. I think we should do unwisely if we left, altogether, the path which we have trodden together so long and so successfully. I can quite understand your desire to write a big work, well, why not write one? But why abandon the Savoy business? Cannot the two things be done concurrently? If you can write an oratorio like The Martyr of Antioch while you are occupied by pieces like Patience and Iolanthe, can't you write a grand opera without giving up pieces like The Yeomen of the Guard?"123 20.Jump up ^ Sullivan continued, "I have lost the necessary nerve for it, and it is not too much to say that it is distasteful to me. The types used over and over again (unavoidable in such a company as ours), the Grossmith part, the middle-aged woman with fading charms, cannot again be clothed in music by me. Nor can I again write to any wildly improbable plot in which there is not some human interest. ... You say that in serious opera, you must more or less sacrifice yourself. I say that this is just what I have been doing in all our joint pieces, and, what is more, must continue to do in comic opera to make it successful. Business and syllabic setting assume an importance which, however much they fetter me, cannot be overlooked. I am bound, in the interests of the piece, to give way. Hence the reason of my wishing to do a work where the music is to be the first consideration – where words are to suggest music, not govern it, and where music will intensify and emphasize the emotional effects of the words.124 21.Jump up ^ Sullivan's biographers and scholars of his work have censured Tennyson's text.137 Gervase Hughes called it "puerile rubbish".126 Percy Young found it "Devoid of any kind of merit whatsoever."138 Sullivan's music was initially well-received,139 but Sullivan's biographers were not impressed: "One of Sullivan's lamest ... resourceless in magic" (Young);138 "not even one memorable number" (Jacobs).137 Recent critics, however, have praised Sullivan's contribution.139140 22.Jump up ^ Caryl Brahms speculates that Sullivan's relationship with his friend the Duke of Edinburgh (who was married) included sex, but the only evidence cited is unspecified "Victorian cartoonists".167 23.Jump up ^ One such flirtation was with "Anna", whom he met in Paris in 1878.177 24.Jump up ^ In 1871, Fred appeared as Cox in his brother's Cox and Box at the Alhambra Theatre,188 and he toured as Cox in his own production that summer.189 Later that year, he played Apollo in Gilbert and Sullivan's Thespis at the Gaiety Theatre, remaining at the Gaiety thereafter. He took his own company on tour in the summer of 1874, appearing in his brother's Cox and Box and The Contrabandista, and later that year he again played Cox, this time at the Gaiety.190 The next year, he created the role of the Learned Judge in Gilbert and Sullivan's Trial by Jury, a role that he would play in London and on tour for the rest of his career.191 25.Jump up ^ Sullivan could also play the oboe and bassoon, but less proficiently.6 26.Jump up ^ Gian Andrea Mazzucato wrote this glowing summary of Sullivan's career in The Musical Standard of 16 December 1899: The English history of the 19th century could not record the name of a man whose "life work" is more worthy of honour, study and admiration than the name of Sir Arthur Sullivan ... it is a debatable point whether the universal history of music can point to any musical personality since the days of Haydn, Mozart and Beethoven, whose influence is likely to be more lasting than the influence the great Englishman is slowly, but surely, exerting. ... I make no doubt that when, in proper course of time, Sir Arthur Sullivan's life and works have become known on the continent, he will, by unanimous consent, be classed among the epoch-making composers, the select few whose genius and strength of will empowered them to find and found a national school of music, that is, to endow their countrymen with the undefinable, yet positive means of evoking in a man's soul, by the magic of sound, those delicate nuances of feeling which are characteristic of the emotional power of each different race.272 27.Jump up ^ Fuller Maitland was later discredited when it was shown that he had invented a banal lyric, passing it off as genuine and condemning Sullivan for supposedly setting such inanity.276 In 1929 Fuller Maitland admitted that he had been wrong in earlier years to dismiss Sullivan's comic operas as "ephemeral".277 28.Jump up ^ The first was "Take a pair of sparkling eyes", from The Gondoliers.284 References 1.Jump up ^ Jacobs, p. 4 2.Jump up ^ Young, pp. 1–2 3.Jump up ^ Ainger, pp. 6 and 22–23 4.Jump up ^ Jacobs, pp. 6–7 5.Jump up ^ Ainger, p. 24; Jacobs, p. 7 6.^ Jump up to: a b Sullivan, quoted in Young, pp. 4–5 7.Jump up ^ Young, p. 5 8.Jump up ^ Jacobs, p. 7; and Ainger, p. 24 9.Jump up ^ Jacobs, pp. 8 and 12 10.^ Jump up to: a b Jacobs, pp. 12–13 11.^ Jump up to: a b Jacobs, pp. 10–11 12.Jump up ^ Young, p. 8 13.^ Jump up to: a b c d "Arthur Sullivan", The Musical Times, 1 December 1900, pp. 785–87 (subscription required) 14.Jump up ^ Rosen, Carole. "Lind, Jenny (1820–1887)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 7 December 2008 (subscription required) 15.Jump up ^ MacKenzie, Alexander. "The Life-Work of Arthur Sullivan", Sammelbände der Internationalen Musikgesellschaft, 3. Jahrg., H. 3, May 1902, pp. 539–64 (subscription required) 16.Jump up ^ Fitzsimons, pp. 98 and 142 17.Jump up ^ Jacobs, pp. 13–16 18.^ Jump up to: a b Jacobs, p. 17 19.Jump up ^ Ainger, p. 37 20.^ Jump up to: a b c Jacobs, p. 24 21.Jump up ^ Young, p. 2 22.Jump up ^ Jacobs, pp. 434–35 23.Jump up ^ Young, p. 15 24.Jump up ^ Jacobs, pp. 22–24 25.Jump up ^ Jacobs, p. 23 26.Jump up ^ Lawrence, Arthur H. "An Illustrated interview with Sir Arthur Sullivan", The Strand Magazine, vol. xiv, No. 84, December 1897 27.Jump up ^ Musgrave, Michael. The Musical Life of the Crystal Palace, Cambridge University Press, 1995, pp. 171–172 ISBN 0-52137562-2 28.Jump up ^ Ainger, p. 56 29.^ Jump up to: a b c d e f Jacobs, Arthur. "Sullivan, Sir Arthur," Grove Music Online, Oxford Music Online, accessed 19 August 2011 (subscription required) 30.Jump up ^ Jacobs, p. 35 31.Jump up ^ Jacobs, p. 38 32.Jump up ^ Jacobs, p. 37 33.Jump up ^ Jacobs, pp. 36 and 42 34.Jump up ^ Jacobs, p. 43 35.Jump up ^ "Concerts", The Times, 17 June 1867, p. 12 36.Jump up ^ Jacobs, p. 45 37.Jump up ^ "Sir George Grove, C. B.", The Musical Times, 1 October 1897, pp. 657–64 (subscription required) 38.Jump up ^ Jacobs, pp. 42–43 39.Jump up ^ Ainger, p. 65 40.Jump up ^ Young, p. 63 41.Jump up ^ Young, p. 63; and Rollins & Witts, p. 15 42.^ Jump up to: a b c Sullivan, Marc. "Discography of Sir Arthur Sullivan: Recordings of Hymns and Songs", the Gilbert and Sullivan Discography, 11 July 2010, accessed 9 September 2011 43.Jump up ^ "Worcester Music Festival", The Times, 9 September 1869, p. 10 44.^ Jump up to: a b Hughes, p. 14 45.Jump up ^ Lunn, Henry C. "The Birmingham Musical Festival", The Musical Times, 1 October 1870, pp. 615–20 (subscription required) 46.Jump up ^ They met at a rehearsal for a second run of Gilbert's Ages Ago at the Gallery of Illustration, probably in July 1870. See Crowther (2011), p. 84 47.Jump up ^ Jacobs, pp. 57–58 48.Jump up ^ Jacobs, p. 68 49.Jump up ^ Jacobs, pp. 27–28 and 38 50.Jump up ^ Jacobs, pp. 65–66 51.Jump up ^ Branston, John. "Christian Soldiers: The Salvation Army brings humility and $48 million to the fairgrounds discussion", Memphis Flyer, 18 November 2005 52.Jump up ^ Ainger, p. 93 53.Jump up ^ Jacobs, p. 50 54.Jump up ^ Rees, p. 72 55.Jump up ^ Rees, p. 15 56.Jump up ^ Rees, p. 78. Its run was extended beyond the length of a normal run at the Gaiety: Walters, Michael. "Thespis: a reply", W. S. Gilbert Society Journal, Vol. 4, part 3, Issue 29, Summer 2011 57.Jump up ^ Rees, pp. 34, 49 and 89 58.Jump up ^ Stedman, p. 94 59.Jump up ^ Stedman, pp. 126–27 60.^ Jump up to: a b Jacobs, pp. 75–76 61.Jump up ^ Jacobs, p. 76 62.Jump up ^ Jacobs, p. 108 63.Jump up ^ Young, pp. 278–80 64.Jump up ^ Howarth, Paul. The Miller and His Man, the Gilbert and Sullivan Archive, accessed January 2, 2013 65.Jump up ^ Ainger, pp. 107–08 66.Jump up ^ McElroy, George. "Whose Zoo; or, When Did the Trial Begin?", Nineteenth Century Theatre Research, 12 December 1984, pp. 39–54 67.Jump up ^ Ainger, p. 108 68.Jump up ^ Jacobs, p. 90 69.^ Jump up to: a b Allen, p. 30 70.Jump up ^ London's Daily News, 27 March 1875, p. 3 71.Jump up ^ "Trial by Jury", The Musical World, 3 April 1875, p. 226, accessed 17 June 2008 72.Jump up ^ Jacobs, pp. 91–92 73.Jump up ^ Rollins and Witts, pp. 5–12 74.Jump up ^ Young, pp. 273–78, gives a complete list 75.Jump up ^ Ainger, p. 128 76.Jump up ^ Sands, John. "Dance Arrangements from the Savoy Operas" (Introduction), The Gilbert and Sullivan Archive, 4 April 2010, accessed 19 October 2011 77.Jump up ^ "Dance Arrangements from the Savoy Operas" (Piano scores), The Gilbert and Sullivan Archive, 19 October 2011 78.Jump up ^ Ainger, p. 121 79.^ Jump up to: a b Wright, David. "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century", Journal of the Royal Musical Association, Oxford University Press, Vol. 130 No. 2, pp. 236–82 80.Jump up ^ Legge, Robin H. "Charles Hubert Hastings Parry", The Musical Times, 1 November 1918, pp. 489–91 (subscription required) 81.Jump up ^ Rollins and Witts, p. 5 82.Jump up ^ Crowther (2000), p. 96 83.Jump up ^ Crowther (2000), p. 96, and Stedman, p. 169 84.Jump up ^ Ainger, p. 155 85.Jump up ^ Bradley (1996), pp. 115–16 86.Jump up ^ Who's Who in the Theatre, Fourteenth edition, ed. Freda Gaye, p. 1532, Pitman, London (1967) ISBN 0-273-43345-8; and Gillan, Don. "Longest Running Plays in London and New York", StageBeauty.net (2007), accessed 10 March 2009 87.Jump up ^ Prestige, Colin. "D'Oyly Carte and the Pirates: The Original New York Productions of Gilbert and Sullivan", pp. 113–48 at p. 118, Gilbert and Sullivan Papers Presented at the International Conference held at the University of Kansas in May 1970, Edited by James Helyar. Lawrence, Kansas: University of Kansas Libraries, 1971. 88.Jump up ^ Rosen, Z. S. "The Twilight of the Opera Pirates: A Prehistory of the Right of Public Performance for Musical Compositions", Cardozo Arts & Entertainment Law Journal, Vol. 24, 2007 (subscription required) 89.Jump up ^ The Times, 27 May 1878, p. 6 90.Jump up ^ Allen, Introduction to chapter on H.M.S. Pinafore 91.^ Jump up to: a b c d Baily, p. 250 92.Jump up ^ "A Talk With Mr. Sullivan", The New York Times, 1 August 1879, p. 3, accessed 22 May 2012 93.Jump up ^ Rollins and Witts, p. 7 94.Jump up ^ Jacobs, p. 139 95.Jump up ^ Ainger, p. 163 96.Jump up ^ McClure, Derrick. "The Martyr of Antioch: Gilbert's Contribution to the Libretto", the Gilbert and Sullivan Archive, accessed 13 July 2008 97.Jump up ^ "Dr. Hanslick on Music in England", The Musical Times, 1 September 1886, pp. 518–20 (subscription required) 98.Jump up ^ Shaw, p. 237 99.Jump up ^ Ainger, pp. 190, 195, 203, 215, 255–56 and 390 100.Jump up ^ Jacobs, p. 146 101.Jump up ^ Rollins & Witts, passim; Cellier and Bridgeman, passim 102.Jump up ^ Jacobs, p. 178 103.Jump up ^ Ainger, pp. 217–19 104.Jump up ^ Baily, p. 251; Ainger, p. 219 105.Jump up ^ Ainger, p. 220 106.Jump up ^ Jacobs, p. 188 107.Jump up ^ Ainger, pp. 224–25 108.Jump up ^ Jacobs, p. 187 109.Jump up ^ Crowther, Andrew. "The Carpet Quarrel Explained", the Gilbert and Sullivan Archive, accessed 15 August 2011 110.Jump up ^ Ainger, p. 230 111.Jump up ^ Jacobs, pp. 190–93 112.Jump up ^ Rollins & Witts, p. 10 113.Jump up ^ Mackerness, E.D. "Cellier, Alfred," Grove Music Online, Oxford Music Online, accessed 18 August 2011 (subscription required); and Gänzl, Kurt. "Cloches de Corneville, Les," The New Grove Dictionary of Opera, Grove Music Online, Oxford Music Online, accessed 18 August 2011 114.Jump up ^ Jacobs, pp. 242–43 115.Jump up ^ Turnbull, Stephen. "Sullivan Biography", the Gilbert and Sullivan Archive, accessed 22 August 2011 116.^ Jump up to: a b c Russell Hulme, David. Notes to Hyperion CD set CDA67280, The Golden Legend] (2001) 117.Jump up ^ Jacobs, p. 243 118.Jump up ^ Ainger, pp. 259–61 119.Jump up ^ Ainger, pp. 265, 270 120.Jump up ^ Ainger, pp. 281–82, and Jacobs, pp. 274–75 121.Jump up ^ "Sir Arthur Sullivan: A Talk With the Composer of Pinafore", San Francisco Chronicle, 22 July 1885, p. 9 122.Jump up ^ Hughes, p.19 123.^ Jump up to: a b Letter from Gilbert to Sullivan, 20 February 1889, quoted in Jacobs, p. 282 124.Jump up ^ Letter from Sullivan to Gilbert, 12 March 1889, quoted in Jacobs, pp. 283–84 125.Jump up ^ Jacobs, pp. 282–83 and 288, and Ainger, p. 294 126.^ Jump up to: a b Hughes, p. 24 127.Jump up ^ Ainger, p. 303 128.Jump up ^ Stedman, p. 270 129.Jump up ^ Ainger, pp. 307–08 130.Jump up ^ Ainger, p. 312 131.Jump up ^ Lamb, Andrew. "Ivanhoe and the Royal English Opera", The Musical Times, Vol. 114, No. 1563, May 1973, pp. 475–78 132.Jump up ^ Jacobs, pp. 328–29 133.Jump up ^ Ainger, p. 322 134.^ Jump up to: a b Gordon-Powell, Robin. Ivanhoe, full score, Introduction, vol. I, pp. XII–XIV, 2008, The Amber Ring 135.Jump up ^ Eden, David. "Ivanhoe on Tour 1895", Sir Arthur Sullivan Society Magazine, No. 68, Summer 2008 136.Jump up ^ Klein Herman, "An Account of the Composition and Production of Ivanhoe", Thirty Years of Musical Life in London, 1870–1900 (1903), reprinted at the Gilbert and Sullivan Archive, 3 October 2003, accessed 5 October 2014 137.^ Jump up to: a b Jacobs, pp. 335–36 138.^ Jump up to: a b Young, p. 194 139.^ Jump up to: a b Eden, David and William Parry. Notes to Hyperion CD set CDA67486, The Contrabandista and The Foresters (2004) 140.Jump up ^ Lamb, Andrew. "Sullivan, 'The Contrabandista'", Gramophone, December 2004, p. 121 141.Jump up ^ Jacobs, pp. 336–42 142.Jump up ^ Jacobs, pp. 341–42 143.Jump up ^ Jacobs, pp. 436–37 144.Jump up ^ Ainger, p. 328 145.Jump up ^ Ainger, p. 346 146.Jump up ^ Coles, Clifton. "Mirette: Introduction", Gilbert and Sullivan Archive, 28 May 1998, accessed October 5, 2014 147.Jump up ^ Ainger, p. 352 148.Jump up ^ Ainger, p. 357 149.Jump up ^ Young, p. 201 150.Jump up ^ Jacobs, pp. 372–76 151.Jump up ^ Entry from Sullivan's diary, quoted in Jacobs p. 379 152.Jump up ^ Jacobs, p. 379 153.Jump up ^ Coles, Clifton. "The Beauty Stone: Notes on the Text", the Gilbert and Sullivan Archive, 2004, accessed 14 July 2008 154.Jump up ^ Jacobs, pp. 379–80 155.Jump up ^ Fowler, Simon. "The Absent-Minded Beggar": an introduction, Fowler History site, 2001, accessed 7 September 2011 156.Jump up ^ Jacobs, pp. 387, 391–92 157.Jump up ^ Jacobs, p. 400 158.Jump up ^ Jacobs, Arthur. "Sullivan, Sir Arthur Seymour (1842–1900)", Oxford Dictionary of National Biography, Oxford University Press, September 2004 (online edition, May 2006), accessed 8 July 2008 (subscription required) 159.Jump up ^ Howarth, Paul. "Te Deum Laudamus, A Thanksgiving for Victory", the Gilbert and Sullivan Archive, 12 January 2010, accessed 28 August 2011 160.Jump up ^ "Funeral of Sir Arthur Sullivan", The Times, 28 November 1900, p. 12 161.Jump up ^ The London Gazette, 9 July 1897, p. 54 162.Jump up ^ Sands, John. "Dance Arrangements from the Savoy Operas", the Gilbert and Sullivan Archive, 4 April 2010 163.^ Jump up to: a b Downs, Peter. "Actors Cast Away Cares", Hartford Courant, 18 October 2006 (subscription required) 164.Jump up ^ Bradley, Chapter 1 165.Jump up ^ Jones, J. Bush. Our Musicals, Ourselves, pp. 10–11, 2003, Brandeis University Press: Lebanon, N.H. (2003) 1584653116 166.Jump up ^ e.g., Jacobs and Ainger 167.Jump up ^ Brahms, p. 46 168.Jump up ^ Ainger, p. 87; Jacobs, pp. 53–55. Some two hundred love letters from the two women have survived; they are excerpted in detail in Wolfson. 169.^ Jump up to: a b c Ainger, pp. 128–29 170.Jump up ^ Quoted in Jacobs, p. 88 171.Jump up ^ Ainger, p. 167 172.Jump up ^ Ainger, p. 135 173.Jump up ^ Ainger, p. 390 174.Jump up ^ Jacobs, p. 161 175.Jump up ^ Ainger, p. 177 176.Jump up ^ Jacobs, pp. 178, 203–04; and Ainger, pp. 210 and 237–38 177.Jump up ^ Jacobs, p. 20 178.Jump up ^ Ainger, pp. 306 and 342 179.Jump up ^ Jacobs, p. 295 180.Jump up ^ Ainger, pp. 364–65; Beddington later married Sydney Schiff, who used elements of her relationship with Sullivan in his 1925 novel Myrtle. She was the younger sister of Ada Beddington. See Whitworth, Michael H. "Schiff, Sydney Alfred (1868–1944)", Oxford Dictionary of National Biography, Oxford University Press, January 2008, accessed 26 October 2012. See also Usher, David A. "In Search of Miss Violet: The Personal Journey of a Gilbert & Sullivan Devotee", GASBAG, Friends of the University of Michigan Gilbert and Sullivan Society, Volume XLIV, No. 1, Issue 259, Summer 2013, pp. 24–29 181.Jump up ^ Jacobs, p. 371 182.^ Jump up to: a b c De Ternant, Andrew. "Debussy and Others on Sullivan", The Musical Times, 1 December 1924, pp. 1089–90 (subscription required) 183.Jump up ^ Young, p. 250 184.^ Jump up to: a b Grossmith, George. "Sir Arthur Sullivan: A Personal Reminiscence", The Pall Mall Magazine, February 1901, reprinted at The Gilbert and Sullivan Archive, accessed 6 October 2011 185.Jump up ^ Beresiner, Yasha. Freemasons-freemasonry.com "Gilbert and Sullivan: Musical Masons", Pietre-Stones Review of Freemasonry, 18 December 2007 186.Jump up ^ Jacobs, p. 73 and passim 187.Jump up ^ Lytton, Henry (1922). "Leaders of the Savoy", Secrets of a Savoyard, the Gilbert and Sullivan Archive, accessed 20 August 2011 188.Jump up ^ Stone, David. "Frederic Sullivan", Who Was Who in the D'Oyly Carte Opera Company, 27 January 2007, accessed 22 August 2011 189.Jump up ^ Liverpool Mercury, 5 September 1871, p. 1 190.Jump up ^ Ainger, p. 107, and "The London Theatres", The Era, 6 September 1874, p. 11 191.Jump up ^ Ainger, pp. 107, 113 and 120 192.Jump up ^ Hayes, passim 193.Jump up ^ Hayes, pp. 6–7 194.Jump up ^ Hayes, p. 9 195.Jump up ^ Hayes, pp. 10–12. One of the children, Frederic Richard Sullivan, went on to become a well-known film director. 196.Jump up ^ Hayes, pp. 14–22 197.Jump up ^ Hayes, pp. 23–32 198.Jump up ^ Stone, David. Kate Sullivan, Who Was Who in the D'Oyly Carte Opera Company, 27 January 2007, accessed 29 August 2010 199.Jump up ^ Stone, David. Jennie Hervey, Who Was Who in the D'Oyly Carte Opera Company, 8 August 2002, accessed 29 August 2010 200.Jump up ^ Stone, David. Rose Hervey, Who Was Who in the D'Oyly Carte Opera Company, 7 August 2002, accessed 29 August 2010 201.Jump up ^ See Sullivan family tree in appendix to Jacobs 202.^ Jump up to: a b c Lawrence, Arthur H. "An Illustrated interview with Sir Arthur Sullivan, Part II", The Strand Magazine, vol. xiv, No. 84, December 1897 203.Jump up ^ Fink, Robert. "Rhythm and Text Setting in The Mikado", 19th Century Music, vol. XIV No. 1, Summer 1990 204.Jump up ^ Ainger, p. 138 205.Jump up ^ "Sir Arthur Sullivan", interviewed by The Pall Mall Gazette, 5 December 1889 206.^ Jump up to: a b Hughes, p. 130 207.Jump up ^ Rees, p. 79 208.Jump up ^ Hughes, pp. 130–41 209.Jump up ^ Shepherd, Marc. "Overtures", the Gilbert and Sullivan Discography, 2005, accessed 21 August 2011 210.Jump up ^ Rollins and Witts, pp. 3–18 211.Jump up ^ "The Lasting Charm of Gilbert and Sullivan: Operas of an Artificial World", The Times, 14 February 1957, p. 5 212.^ Jump up to: a b Hughes, p. 129 213.Jump up ^ Hughes, p. 128 214.Jump up ^ Hughes, p. 125 215.^ Jump up to: a b Hughes, p. 152 216.Jump up ^ Greenfield, Edward. "Sullivan – Symphony in E major", The Gramophone, February 1969, p. 61 217.^ Jump up to: a b c Hughes, p. 44 218.Jump up ^ Hughes, p. 49 219.^ Jump up to: a b Hughes, p. 52 220.Jump up ^ Hughes, p. 59 221.Jump up ^ Hughes, p. 48 222.Jump up ^ Hughes, pp. 47–48 223.Jump up ^ Hughes, p. 66 224.Jump up ^ Hughes, pp. 73–74 225.^ Jump up to: a b Hughes, p. 75 226.^ Jump up to: a b Hughes, p. 78 227.Jump up ^ Hughes, pp. 79 and 81–82 228.Jump up ^ Hughes, pp. 79–80 229.Jump up ^ Rees, p. 80 230.Jump up ^ Hughes, p. 118 231.Jump up ^ Hughes, pp. 96–97 232.Jump up ^ Young, p. 178 233.Jump up ^ Hughes, p. 96 234.Jump up ^ "The Savoy Opera Revival", The Observer, 28 September 1919 235.Jump up ^ Hughes, p. 108 236.Jump up ^ Findon, p. 107 237.Jump up ^ Eden and Saremba, Appendix: The orchestration of Sullivan's major works 238.Jump up ^ Hughes, p. 104 239.Jump up ^ Hughes, p. 117 240.Jump up ^ Cooper, Martin. "Sullivan", Opera News, April 1960, pp. 8–12 241.^ Jump up to: a b Hughes, pp. 144–45 242.Jump up ^ "The Rose of Persia; Or, the Story-teller and the Slave", The Era, 2 December 1899, p. 14 243.Jump up ^ Grossmith, George. "Sir Arthur Sullivan", The Pall Mall Magazine, vol. 23, No. 94, February 1901, p. 255 244.Jump up ^ Hughes, pp. 150–51, and Jacobs, p. 52 245.Jump up ^ Hughes, pp. 46–47 and 152 246.Jump up ^ Lamb, Andrew. "Comic Opera Goes Latin-American, 1890–92, Part 2", The Gaiety, Winter 2006, p. 33 247.^ Jump up to: a b c d Scherer, Barrymore Laurence. "Gilbert & Sullivan, Parody's Patresfamilias", The Wall Street Journal, 23 June 2011 248.Jump up ^ Hughes, pp. 151 and 80 249.Jump up ^ Hughes, pp. 150–51 250.Jump up ^ Hope-Wallace, Philip. "Princess Ida Returns", The Manchester Guardian, 28 September 1954, p. 5 251.Jump up ^ Bamberger, David. The Palace Peeper, vol. 73, No. 10, p. 4 (June 2009), The Gilbert and Sullivan Society of New York 252.Jump up ^ Hughes, p. 91 253.Jump up ^ Hughes, p. 109 254.Jump up ^ Young, p. 221, and Burton, Nigel. "100 Years of a Legend", The Musical Times, 1 October 1986 pp. 554–57(subscription required) 255.^ Jump up to: a b c Hughes, p. 143 256.Jump up ^ Williams, p. 217 257.Jump up ^ Young, p. 223 258.Jump up ^ Jacobs, pp. 28 and 42 259.Jump up ^ Quoted in Jacobs, p. 28 260.Jump up ^ Jacobs, p. 48 261.Jump up ^ Jacobs, p. 49 262.Jump up ^ Gammond, p. 137 263.Jump up ^ The Figaro, quoted in Allen, pp. 49–50 264.Jump up ^ Beatty-Kingston, William. The Theatre, 1 January 1883, quoted in Baily, p. 246 265.Jump up ^ 25 October 1880, quoted in Jacobs, p. 149 266.Jump up ^ "Leeds Music Festival", The Observer, 17 October 1886, p. 6 267.Jump up ^ Quoted in Harris, p. IV 268.Jump up ^ Quoted in Allen, p. 312 269.Jump up ^ Quoted in Jacobs, p. 331 270.Jump up ^ Quoted in Tillett 1998, p. 26 271.Jump up ^ Maine, Basil. Elgar, Sir Edward William, 1949, Oxford Dictionary of National Biography archive, accessed 20 April 2010 (subscription required) 272.Jump up ^ Quoted in the Sir Arthur Sullivan Society Journal, No. 34, Spring 1992, pp. 11–12 273.Jump up ^ Fuller Maitland, J. A. "Obituary", Cornhill Magazine, March 1901, pp. 300–09 274.Jump up ^ Young, p. 264 275.Jump up ^ Quoted in Young, p. 264 276.^ Jump up to: a b c Burton, Nigel. "Sullivan Reassessed: See How the Fates", The Musical Times, Winter 2000, pp. 15–22 (subscription required) 277.Jump up ^ "Light Opera", The Times, 22 September 1934, p. 10 278.^ Jump up to: a b Hughes, p. 6 279.Jump up ^ Howes, p. 54 280.Jump up ^ Dunhill 1928, p. 13 281.Jump up ^ "Sir Henry Wood Jubilee Concert at Albert Hall", The Times, 6 October 1938, p. 10 282.^ Jump up to: a b Shepherd, Marc. "Discography of Sir Arthur Sullivan", the Gilbert and Sullivan Discography, 10 July 2010, accessed 5 October 2014 283.^ Jump up to: a b c "Historic Sullivan Recordings", the Gilbert and Sullivan Archive, accessed 30 June 2007 284.Jump up ^ Wolfson, John (1973). "A history of Savoyard recordings", Notes to Pearl LP set GEM 118/120 285.Jump up ^ Shepherd, Marc. "The First D'Oyly Carte Recordings", the Gilbert and Sullivan Discography, 18 November 2001, accessed October 5, 2014 286.Jump up ^ Shepherd, Marc. "G&S Discography: The Electrical Era", the Gilbert and Sullivan Discography, 18 November 2001, accessed 5 October 2014 287.Jump up ^ Shepherd, Marc. "The D'Oyly Carte Stereo Recordings", the Gilbert and Sullivan Discography, 24 December 2003, accessed 5 October 2014 288.^ Jump up to: a b c Shepherd, Marc. "G&S Discography: The Digital Era", the Gilbert and Sullivan Discography, 27 August 2002, accessed 5 October 2014 289.Jump up ^ Shepherd, Marc. "The Gilbert and Sullivan for All recordings", the Gilbert and Sullivan Discography, accessed 8 September 2011, accessed 5 October 2014 290.Jump up ^ Shepherd, Marc. "G&S on Film, TV and Video", the Gilbert and Sullivan Discography, 18 November 2001, accessed 5 October 2014 291.Jump up ^ Shepherd, Marc. "G&S Discography: The Stereo Era", the Gilbert and Sullivan Discography, accessed 18 November 2001, accessed 5 October 2014 292.Jump up ^ Shepherd, Marc. "The Brent Walker Videos", the Gilbert and Sullivan Discography, 5 April 2003, accessed 5 October 2014 293.Jump up ^ Shepherd, Marc. "Papp's Pirates (1980)", the Gilbert and Sullivan Discography, 5 April 2003, accessed 11 September 2011 294.Jump up ^ Gilbert and Sullivan Festival CDs and DVDs from Musical Collectables, accessed 8 September 2011 295.Jump up ^ HMV 78 discs 02397 and 03151 296.Jump up ^ Columbia DX1200 297.Jump up ^ EMI LP ASD 2435 298.Jump up ^ Shepherd, Marc. "Major Works of Sir Arthur Sullivan, by Genre", the Gilbert and Sullivan Discography, 3 April 2009, accessed 5 October 2014 299.Jump up ^ EMI LP DS-38318 300.Jump up ^ Hyperion CD set 67280 301.Jump up ^ Chandos CD set CHAN 10578 302.Jump up ^ EMI LPs 33SX1001; ESD7028; and CFP40293; and Decca LP SXDL7619 Sources Ainger, Michael (2002). Gilbert and Sullivan – A Dual Biography. Oxford: Oxford University Press. ISBN 0-19-514769-3. Allen, Reginald (1976). The First Night Gilbert and Sullivan. London: Chappell & Co. Ltd. ISBN 0-903443-10-4. Baily, Leslie (1966). The Gilbert and Sullivan Book (Third ed.). London: Spring Books. OCLC 3651931. Bradley, Ian C (2005). Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan. Oxford University Press. ISBN 0-19-516700-7. Brahms, Cary (1975). Gilbert and Sullivan: Lost Chords and Discords. London: Weidenfeld and Nicolson. ISBN 0-297-76936-7. Crowther, Andrew (2000). Contradiction Contradicted – The Plays of W. S. Gilbert. Associated University Presses. ISBN 0-8386-3839-2. Crowther, Andrew (2011). Gilbert of Gilbert & Sullivan: his Life and Character. London: The History Press. ISBN 978-0-7524-5589-1. Dunhill, Thomas F. (1928). Sullivan's Comic Operas – A Critical Appreciation. London: Edward Arnold & Co. OCLC 409499. Eden, David; Meinhard Saremba (2009). The Cambridge Companion to Gilbert and Sullivan. Cambridge Companions to Music. Cambridge: Cambridge University Press. ISBN 0-521-88849-2. Findon, Benjamin William (1904). Sir Arthur Sullivan – His Life and Music. London: James Nisbet. OCLC 499660152. Fitzsimons, Bob (2008). Arthur O'Leary & Arthur Sullivan: Musical Journeys from Kerry to the Heart of Victorian England. Tralee: Doghouse. ISBN 0955874610. Gammond, Peter (1980). Offenbach. London: Omnibus Press. ISBN 0-7119-0257-7. Harris, Roger, ed. (1986). The Golden Legend. Chorleywood, Herts., UK: R. Clyde. Hayes, Scott (2003). Uncle Arthur: The California Connection. Saffron Walden: Sir Arthur Sullivan Society. OCLC 52232815. Howes, Frank (1966). The English Musical Renaissance. London: Secker and Warburg. OCLC 460655985. Hughes, Gervase (1959). The Music of Sir Arthur Sullivan. London: Macmillan. OCLC 500626743. Jacobs, Arthur (1984). Arthur Sullivan: A Victorian Musician. Oxford University Press. ISBN 0-19-315443-9. Rees, Terence (1964). Thespis – A Gilbert & Sullivan Enigma. Dillon's University Bookshop. OCLC 220047638. Rollins, Cyril; R. John Witts (1961). The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas. London: Michael Joseph, Ltd. OCLC 1317843. Shaw, G. Bernard (1981). Dan Laurence, ed. Shaw's Music: The Complete Music Criticism of Bernard Shaw, Volume 1 (1876–1890). London: The Bodley Head. ISBN 0-370-30247-8. Stedman, Jane W. (1996). W. S. Gilbert, A Classic Victorian & His Theatre. Oxford University Press. ISBN 0-19-816174-3. Tillett, Selwyn (1998). The Ballets of Arthur Sullivan. Coventry: Sir Arthur Sullivan Society. OCLC 227181926. Williams, Carolyn (2010). Gilbert and Sullivan: Gender, Genre, Parody. New York: Columbia University Press. ISBN 0-231-14804-6. Young, Percy M. (1971). Sir Arthur Sullivan. London: J. M. Dent & Sons Ltd. ISBN 0-460-03934-2. Further reading Allen, Reginald; Gale R. D'Luhy (1975). Sir Arthur Sullivan – Composer & Personage. New York: The Pierpont Morgan Library. OCLC 642398593. Bradley, Ian C (1997). Abide With Me: The World of the Victorian Hymn. London: SCM-Canterbury Press. ISBN 0-334-02703-9. Cellier, François; Cunningham Bridgeman (1914). Gilbert and Sullivan and Their Operas. New York: Little, Brown and Company. OCLC 58942004. Dillard, Philip H. (1996). Sir Arthur Sullivan: A Resource Book. Boston: The Scarecrow Press, Inc. ISBN 0-8108-3157-0. Lawrence, Arthur (1899). Sir Arthur Sullivan, Life Story, Letters and Reminiscences (1907 ed.). London: Duffield & Co. OCLC 1303888. Wolfson, John (1984). Sullivan and the Scott Russells: A Victorian love affair told through the letters of Rachel and Louise Scott Russell to Arthur Sullivan – 1864–1870. Chichester: Packard Publishing. ISBN 0-906527-14-7. External links Wikisource has original works written by or about: Arthur Seymour Sullivan Wikimedia Commons has media related to Arthur Sullivan. Wikiquote has quotations related to: Arthur Sullivan GeneralExtensive list of links to Sullivan works and materials, Gilbert and Sullivan Archive Sir Arthur Sullivan Society Obituary notices in The Times Detailed 1879 article about Sullivan Analysis of Sullivan music and legacy "Sir Arthur Sullivan Buried in St. Paul's" The New York Times, 1900 "The Other Side of Sullivan", lecture by Robin Wilson, 2008. Archival material relating to Arthur Sullivan listed at the UK National Archives MusicFree scores by Arthur Sullivan in the Choral Public Domain Library (ChoralWiki) Free scores by Sullivan at the International Music Score Library Project The Mutopia Project has compositions by Arthur Sullivan Works by Arthur Sullivan at Project Gutenberg Works by or about Arthur Sullivan at Internet Archive Works by Arthur Sullivan at LibriVox (public domain audiobooks) Sullivan scores at The Morgan Library Category:Arthur Sullivan Category:1842 births Category:1900 deaths Category:19th-century classical composers Category:19th-century English musicians Category:Alumni of the Royal Academy of Music Category:Ballet composers Category:British people of Irish descent Category:Burials at St Paul's Cathedral Category:Composers awarded knighthoods Category:English Anglicans Category:English classical composers Category:English male classical composers Category:English opera composers Category:English people of Italian descent Category:English Romantic composers Category:Gilbert and Sullivan Category:Knights Bachelor Category:Oratorio composers Category:People from Lambeth Category:University of Music and Theatre Leipzig alumni